Cyflwyno-Beirdd-Cymreig-Introducing

Total Page:16

File Type:pdf, Size:1020Kb

Cyflwyno-Beirdd-Cymreig-Introducing Cyflwyno Beirdd Cymreig / Introducing Welsh Poets Parallel.cymru/poets Croeso i ‘Cyflwyno Beirdd Cymru’. Yn yr adnodd hwn byddwch yn dod o hyd i wybodaeth am feirdd sy’n ysgrifennu yn y Gymraeg, neu sydd wedi ysgrifennu am y wlad. Dylanwadwyd ar y beirdd yn y cyflwyniad hwn gan bob agwedd ar Gymru, yn cynnwys traddodiadau barddol Cymraeg, a hanes, tirwedd a diwylliant Cymru. Yma byddwn yn dathlu lleisiau Cymreig, yn cynnwys rhai cyfarwydd, a rhai sy’n llai adnabyddus. Efallai y byddwch yn synnu nad yw rhai enwau cyfarwydd wedi’u cynnwys yn yr adnodd hwn. Roeddwn yn credu ei fod yn bwysig i ddangos yr amrywiaeth sy’n bodoli ym myd barddoniaeth Gymraeg, yn cynnwys y gwahanol arddulliau, o’r traddodiadol i’r arbrofol, sydd wedi bodoli trwy hanes Cymru. Dyma adnodd addysgol rhad ac am ddim, ar gyfer y rhai sydd â diddordeb yn y Gymraeg, ac yn hanes a barddoniaeth Cymru. Mae wedi’i ysgrifennu er mwyn helpu pobl i ddysgu am feirdd Cymru yn y ffordd hawsaf posib, ac felly mae’n cynnwys dolenni i lyfrau ac erthyglau. Ynglŷn â’r wybodaeth am bob bardd, mae’r lluniau wedi’u cysylltu â gwefannau, ble fyddwch chi’n gallu dod o hyd i rai o’r llyfrau y mae sôn amdanyn nhw yn y cyflwyniad hwn. Mae’r awdur wedi manteisio ar wybodaeth academyddion, haneswyr a beirdd Cymreig blaenllaw wrth greu’r dudalen hon. Ymunwch â ni i ymchwilio i feirdd Cymru drwy hanes y wlad ac i ddarganfod pam mai un enw ar Gymru yw Gwlad frwd y beirdd. Welcome to 'Introducing Welsh Poets'. In this resource you can expect to find information about poets who wrote in, or about, Wales. The poets in this introduction have been influenced by all aspects of Wales, including Welsh poetic traditions, Welsh history, landscape and culture. It is time to celebrate Welsh voices from the familiar to the new. It might be surprising that certain household names have not been included in this resource. This is because I thought it was important to explore the diversity within Welsh poetry and the range of styles, from the traditional to the experimental, that is present throughout Welsh history. This is a free educational resource for those interested in Welsh language, history and poetry. It has been written with the intention of making further study of Welsh poets as straightforward as possible, including links to books and articles. The photos that accompany each poet are linked to websites where some of the books mentioned in this introduction can be found. This page has benefited from the knowledge of prominent Welsh academics, historians and poets. Join us in an exploration of Welsh poets throughout Welsh history and discover why Wales is called Gwlad frwd y beirdd. Wedi'i gasglu a'i olygu gan / Collated and edited by: Rhea Seren Phillips. Gyda chyfraniadau oddi wrth / With contributions from: Aneirin Karadog, Professor Ann Parry Owen, Eurig Salisbury, Natalie Ann Holborow & Norena Shopland. Taliesin (c.534 AD - c.599 AD) Dros y canrifoedd, mae’r enw Taliesin wedi’i ramantu, ac mae’r bardd wedi cael ei ddyrchafu i fod yn rhan o fytholeg Cymru. Efallai mai un o straeon mwyaf adnabyddus Cymru yw’r chwedl am sut y daeth Taliesin i fod. Roedd y wrach, Ceridwen, wedi gorchymyn i was ifanc droi diod hud am flwyddyn a diwrnod. Bwriadwyd y ddiod ar gyfer ei mab oedd yn wrthun a diddawn pan gafodd ei eni. Penderfynodd Ceridwen fragu diod i newid ei natur. Â’r ddiod yn barod, tasgodd diferyn ar law'r gwas. Ar unwaith, rhoddodd y bachgen ei law yn ei geg i leddfu’r llosg gan yfed y ddiod a derbyn ei buddion i gyd. Ac felly daeth chwedl Taliesin i fod. Bardd llys cynnar oedd Taliesin. Un o’r Cynfeirdd oedd e, oedd yn weithredol rhwng y 6ed a’r 12fed ganrif, fwy neu lai. Cyfoethog ac amrywiol oedd rôl y bardd yn yr Oesoedd Canol, yn cynnwys bod yn rhyfelwr, diddanwr, proffwyd, a chroniclydd. Roedd barddoniaeth yn draddodiad llafar, ac ysgrifennwyd fel arfer mewn ffurfiau a mesurau barddol, Cymraeg, sef cerdd dafod a chynghanedd. Un o ddyletswyddau bardd llys oedd ysgrifennu barddoniaeth i ganu clodydd noddwr enwog, fyddai’n aml o dras frenhinol (am fwy o wybodaeth am feirdd Cymraeg yn yr Oesoedd Canol, gweler y cyswllt isod). Roedd Taliesin yn enwog am ei allu i wneud hyn. Ymhlith rhai eraill, ysgrifennodd ddeuddeg o gerddi mawl i’w noddwr, y Brenin Urien Rhedeg a’i fab, Owain. • Aneirin oedd un o gydoeswyr Taliesin. • ‘Talcen disglair’ yw ystyr yr enw Taliesin. • Ysgrifennwyd Hanes Taliesin yn y 16eg ganrif gan Elis Gruffydd. The name Taliesin has been romanticised throughout the centuries and the poet has transcended into myth. The story of how Taliesin came to exist is perhaps one of Wales’ most well-known stories. The witch Ceridwen tasked a serving boy to stir a potion for a year and a day. The potion was intended for her son who had been born grotesque and talentless. Ceridwen decided to brew a potion to alter his nature. Just as the potion was ready, a splash fell on the serving boy's hand. The boy immediately brought his hand to his mouth to ease the burn, consuming the potion and all of its benefits. And so, the legend of Taliesin was born. Taliesin was an early Welsh court poet. He was one of the Y Cynfeirdd or 'The Early Poets' who were active around the 6th to 12th century. The role of the medieval poet was a rich and varied one that included warrior, entertainer, prophet and chronicler. Poetry was an oral tradition that was usually written in Welsh poetic forms and metre or cerdd dafod and cynghanedd. One of the duties of a court poet was to write panegyric verse or poetry written in praise of a celebrated patron, these individuals were often of royal descent (for more information about medieval Welsh poets see the link below). Taliesin was renowned for this ability. Among others, he wrote twelve praise poems for his patron, King Urien Rheged and his son, Owain. • Aneirin was one of Taliesin's contemporaries. • The name Taliesin means 'radiant brow' or 'shining brow'. • Hanes Taliesin was written in the 16th century by Elis Gruffydd. Darn oddi wrth 'Marwnad Owain ab Urien' Cysgid Lloegr llydan nifer A lleufer yn eu llygaid. Extract from 'Marwnad Owain ab Urien' Wide England’s host would sleep With the light in their eyes. Books Taliesin. 1988. Taliesin Poems. Translated from Welsh to English by Meirion Pennar. Wales. Llanerch Press. Lewis, G. Williams, R. 2019. The Book of Taliesin: Poems of Warfare and Praise in an Enchanted Britain. England. Penguin Classics. Gwalchmai ap Meilyr (c.1132 - c.1180) Cyflwyniad gan / Introduction by: Professor Ann Parry Owen Roedd Gwalchmai ap Meilyr yn un o’r cynharaf o Feirdd y Tywysogion neu’r Gogynfeirdd. Hanai o deulu o feirdd proffesiynol o Fôn (ac fe’i cysylltir yn arbennig â Threwalchmai). Bu ei dad, Meilyr Brydydd, yn fardd llys i’r Tywysog Gruffudd ap Cynan (marw 1137). Mae’r cerddi sydd wedi goroesi yn awgrymu cyswllt arbennig rhyngddo a’r Tywysog Owain Gwynedd (marw 1170), mab Gruffudd ap Cynan, yn ogystal â brodyr a meibion Owain. Roedd Madog ap Maredudd, tywysog Powys, yntau’n noddwr pwysig iddo, a chyfansoddodd awdl farwnad hir yn dilyn marwolaeth Madog yn 1160. Yn ogystal â’r cerddi mawl a marwnad traddodiadol, cadwyd ganddo gerddi crefyddol a myfyrgar, a hefyd gerdd Orhoffedd, lle mae’n ymffrostio yn ei alluoedd milwrol ef ei hun a rhai ei noddwr, Owain Gwynedd, ac yn llawenhau yn agweddau ar serch a natur. Cadwyd barddoniaeth Gwalchmai mewn dwy lawysgrif bwysig o’r Oesoedd Canol, sef Llawysgrif Hendregadredd (c.1300) a Llyfr Coch Hergest (c.1400). Gwelir yn llinellau agoriadol ei Orhoffedd y llawenydd personol a’r brwdfrydedd sy’n nodweddu llawer o’i waith. Gwalchmai ap Meilyr was one of the earliest of the Poets of the Princes or Gogynfeirdd. He belonged to a family of professional poets from Anglesey (and is associated in particular with Trewalchmai). His father, Meilyr Brydydd, was the court poet of Prince Gruffudd ap Cynan (died 1137). Gwalchmai’s extant poetry suggests a particularly close relationship with Prince Owain Gwynedd (died 1170), Gruffudd ap Cynan’s son, and Owain’s brothers and sons. Madog ap Maredudd, prince of Powys, to whom he composed a long elegy following his death in 1160, was also an important patron. As well as the traditional eulogies and elegies, Gwalchmai’s repertoire contains religious poems, poems of reflection, and his Gorhoffedd, a ‘boasting’ poem celebrating his own military exploits as well as those of his patron, Owain Gwynedd, and rejoicing in aspects of love and nature. Gwalchmai’s poetry has survived in two major medieval manuscripts, The Hendregadredd Manuscript (c.1300) and the Red Book of Hergest (c.1400). The opening lines of his Gorhoffedd convey the personal joy and enthusiasm that characterize much of his poetry. Mochddwyreawg huan haf dyffestin, Maws llafar adar, mygr hear hin. Mi ydwyf eurddeddf ddiofn yn nhrin, Mi ydwyf llew rhag llu, lluch fy ngorddin. Early to rise is the sun in summer which is quickly approaching, Sweet is the birdsong, splendid and fine is the weather. I am a man of magnificent and fearless attributes in battle, I am a lion at the front of a regiment, my onslaught is a lightning flash. Books For Gwalchmai ap Meilyr’s poetry, see J. E. Caerwyn Williams and Peredur I. Lynch, Gwaith Meilyr Brydydd a’i Ddisgynyddion (Cardiff, 1994), pp.
Recommended publications
  • Arfau'r Beirdd 1
    Pennod 1: Cyflwyniad 1.1 Arfau a‘r Bardd Yn y gynharaf o‘r llawysgrifau sy‘n cynnwys y Gramadegau barddol a briodolir i Einion Offeiriad a Dafydd Ddu, sef llsgr. Peniarth 20, dywedir y dylid moli arglwydd o’y gedernyt, a’y dewred, a’y vilwryaeth. Daw hyn ar frig rhestr o nodweddion eraill, gan gyfeirio hefyd at allu ar wyr a meirch ac arueu, ac adurnyant gwisgoed ac arueu a thlysseu.1 Er bod y ‗Gramadegau‘ wedi eu hysgrifennu rai degawdau ar ôl y cerddi diweddarach a ystyrir yn yr astudiaeth hon, adlewyrchant yn deg bwysigrwyddd arfau fel rhan o ‗arfogaeth‘ lenyddol y beirdd drwy‘r Oesoedd Canol: caiff arfau eu defnyddio wrth foli gwrhydri a milwriaeth, ac fel rhan o ddarlun arwrol o wrthrych cerdd a awgrymai harddwch personol, cyfoeth a statws yn ogystal â rhinweddau milwrol.2 Nid i ganu mawl i arglwyddi yr oedd arfau‘n gyfyngedig, ychwaith, – fe‘u gwelir mewn cerddi i osgorddion ac i swyddogion, ac mewn cerddi mawl a cherddi ymffrost sy‘n darlunio‘r bardd ei hun fel rhyfelwr. Ac fe‘u defnyddid yn symbolaidd, yn ffigurol neu‘n drosiadol mewn amrediad eang o genres gan gynnwys canu crefyddol a cherddi i wragedd yn ogystal â chanu mawl i wrthrychau gwrywaidd. Nid yw‘n syndod fod y beirdd wedi gwneud defnydd mor helaeth o arfau yn eu cerddi. Mae croniclau megis Brut y Tywysogion yn tystio i hollbresenoldeb brwydro drwy gyfnod y Tywysogion, a‘r tywysogion eu hunain, fel llywodraethwyr canoloesol eraill, yn aml yn defnyddio dulliau arfog wrth adeiladu neu amddiffyn eu teyrnasoedd.3 Mynegwyd y ffaith 1 G.J Williams and E.J.
    [Show full text]
  • The Upper Ceiriog Trail (Directions & Map)
    The Upper Ceiriog Trail Route Description Explained in an anticlockwise direction starting at Llanarmon Dyffryn Ceiriog. Grid Reference SJ 157 328 (Lat 52.886482 Long -3.253547). All distances and heights are approximate. Assuming a start from Llanarmon DC, take the road heading south out of the village with The Hand Hotel on the left. Follow road uphill for 1 mile (1.5 km). Shortly before you reach a road junction with white railings, turn left through a gate into a field. Follow track for 2 miles (3 km) to cross tracks. There are a few deep ruts, take care! At cross tracks, carry straight on gently downhill to gate onto tarmac road. (Take care when coming out onto road as there is a blind bend to your left). After passing through gate, turn right and follow tarmac road for 1/3 mile (550 m). As road bears to the right, take turning on left. Almost immediately, turn right uphill following another tarmac road. After 1/2 mile (810 m), the road starts to bear left. As it straightens out, turn sharply right passing Cefn-y-braich-uchaf Farm. (Warning: At second hen house is a feed silo that could start up without notice and could startle your horse). At fork, take left track going uphill. Follow track for 1/2 mile (810 m) to gate into open field. (Here you meet The Ceiriog Trail coming in from the other direction). Take the grass track diagonally across the field marked with reflector posts. 55 yds (50 m) before gate onto tarmac road, turn left onto the stony track.
    [Show full text]
  • Arthurian Personal Names in Medieval Welsh Poetry
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aberystwyth Research Portal ʹͲͳͷ Summary The aim of this work is to provide an extensive survey of the Arthurian personal names in the works of Beirdd y Tywysogion (the Poets of the Princes) and Beirdd yr Uchelwyr (the Poets of the Nobility) from c.1100 to c.1525. This work explores how the images of Arthur and other Arthurian characters (Gwenhwyfar, Llachau, Uthr, Eigr, Cai, Bedwyr, Gwalchmai, Melwas, Medrawd, Peredur, Owain, Luned, Geraint, Enid, and finally, Twrch Trwyth) depicted mainly in medieval Welsh prose tales are reflected in the works of poets during that period, traces their developments and changes over time, and, occasionally, has a peep into reminiscences of possible Arthurian tales that are now lost to us, so that readers will see the interaction between the two aspects of middle Welsh literary tradition. Table of Contents Acknowledgements ...................................................................................................... 3 Bibliographical Abbreviations and Short Titles ....................................................... 4 Introduction .................................................................................................................. 9 Chapter 1: Possible Sources in Welsh and Latin for the References to Arthur in Medieval Welsh Poetry .............................................................................................. 17 1.1. Arthur in the White Book of Rhydderch and the
    [Show full text]
  • Adar Yng Ngwaith Y Cywyddwyr
    Adar yng Ngwaith y Cywyddwyr Arthur Howard Williams Traethawd a gyflwynir am radd PhD Prifysgol Aberystwyth 2014 CRYNODEB Yn y traethawd hwn astudir yr ymdriniaeth â’r adar yn y farddoniaeth Gymraeg gaeth a luniwyd rhwng tua 1300 a 1600. Yn bennaf, gwaith y Cywyddwyr a ystyrir ond cymerir peth sylw o feirdd y bedwaredd ganrif ar ddeg nad oeddent yn cyfansoddi cywyddau. Ar ôl rhagarweiniad byr rhennir y traethawd yn bum prif bennod. Ym Mhennod 2 ystyrir y ffyrdd yr edrychid ar y byd naturiol trwy Ewrop, yn enwedig ar y syniadaeth a etifeddwyd o’r Oes Glasurol ac ar fydolwg Cristnogol y cyfnod, a hwnnw’n anochel lywodraethol. Ymwna Pennod 3 â chywyddau gofyn a diolch am adar a genid o 1450 ymlaen, am elyrch, peunod, ffesantod ac yn enwedig adar hela. Mae Pennod 4 yn ymdrin â swyddogaethau adar o sawl math fel llateion yn y canu serch ac, yn yr unfed ganrif ar ddeg, fel negeswyr a yrrid at noddwyr, cyfeillion a pherthnasau i’w hannerch. Edrychir hefyd ar rôl adar a gynghorai’r bardd ei hunan. Ym Mhennod 5 troir at gerddi lle erys yr adar yn eu cynefin naturiol, yn bennaf at rôl yr adar bychain yn y canu serch a luniwyd gan Ddafydd ap Gwilym a’i olynwyr ond hefyd at gerddi am adar nad ystyrid mor glodwiw, megis y cyffylog ac yn enwedig y dylluan. Yn y bennod sylweddol olaf (Pennod 6) ystyrir y defnydd o adar i greu trosiadau ym mhob genre yn y canu. Mae hyn yn cwmpasu nid yn unig y darluniadau o’r uchelwyr fel adar ysglyfaethus o bob math ond hefyd y defnydd o beunod, elyrch a gwylanod at ddibenion y canu mawl.
    [Show full text]
  • Historical Writing in Medieval Wales
    Bangor University DOCTOR OF PHILOSOPHY Historical writing in medieval Wales Jones, Owain Award date: 2013 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 01. Oct. 2021 HISTORICAL WRITING IN MEDIEVAL WALES OWAIN WYN JONES Dissertation submitted for the degree of Doctor of Philosophy Bangor University 2013 I SUMMARY This study focusses on the writing of history in medieval Wales. Its starting-point is a series of historical texts in Middle Welsh which, from the second quarter of the fourteenth century, begin to appear together in manuscripts to form a continuous history, termed the Welsh Historical Continuum. The central component of this sequence is a translation of Geoffrey of Monmouth’s influential history of the Britons. The main questions of the first part of the thesis are when and why these historical texts were first combined, and to what degree this Welsh historiographical phenomenon reflects broader European trends.
    [Show full text]
  • Darlith Caerwyn 2015 Proflen Derfynol
    Darlith Goffa J. E. Caerwyn a Gwen Williams 2015 PLU PORFFOR A CHLOG O FWNG CEILIOG: CYNDDELW BRYDYDD MAWR A GUTO’R GLYN ANN PARRY OWEN ABERYSTWYTH CANOLFAN UWCHEFRYDIAU CYMREIG A CHELTAIDD PRIFYSGOL CYMRU 2017 Darlith_MEWN_2017_v4.indd 1 12/07/2017 14:54 Ann Parry Owen 2017 Cedwir pob hawl. Ni chaniateir atgynhyrchu unrhyw ran o’r cyhoeddiad hwn na’i gadw mewn cyfundrefn adferadwy na’i drosglwyddo mewn unrhyw ddull na thrwy unrhyw gyfrwng electronig, mecanyddol, ffotocopïo, recordio, nac fel arall, heb ganiatâd ymlaen llaw gan Ganolfan Uwchefrydiau Cymreig a Cheltaidd Prifysgol Cymru, Llyfrgell Genedlaethol Cymru, Aberystwyth, Ceredigion, SY23 3HH. Mae cofnod catalogio’r llyfr hwn ar gael gan y Llyfrgell Brydeinig. ISBN 978-1-907029-24-0 Argraffu / Argraffwyr Cambrian, Aberystwyth Dylunio / Cyngor Llyfrau Cymru Darlith_MEWN_2017_v4.indd 2 12/07/2017 14:54 Y MAE’N FRAINT FAWR i mi gael traddodi’r ddarlith eleni er cof am yr Athro J. E. Caerwyn Williams a Mrs Gwen Williams. Trysoraf yn fawr yr oriau a dreuliais yng nghwmni’r Athro yn ei ystafell fechan yn yr Hen Goleg yn trafod cerddi Cynddelw Brydydd Mawr, ar y dechrau fel myfyrwraig PhD ac yn ddiweddarach fel aelod o brosiect Beirdd y Tywysogion y Ganolfan Uwchefrydiau Cymreig a Cheltaidd, a oedd wedi ei lleoli ar y pryd mewn tŷ Sioraidd rhwng adeiladau’r Hen Goleg a’r Coleg Diwinyddol yn Aberystwyth. Yr oedd gan yr Athro ddiddordeb dwfn iawn yn y testun ei hun, ac nid gwastraff amser ganddo fyddai treulio oriau bwygilydd yn trafod un llinell yn unig, er mwyn sicrhau ein bod yn cyflwyno’r dehongliad gorau i’r darllenydd ac felly’n gwneud cyfiawnder â’r beirdd yr oedd ganddo gymaint o barch tuag atynt.
    [Show full text]
  • I Am No Frivolous Minstrel”: the Welsh Bards and King Edward I
    "I AM NO FRIVOLOUS MINSTREL”: THE WELSH BARDS AND KING EDWARD I A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Diane Ney, B.S. Georgetown University Washington, D.C. April 1, 2014 Copyright 2014 by Diane Ney All Rights Reserved ii “I AM NO FRIVOLOUS MINSTREL”: THE WELSH BARDS AND KING EDWARD I Diane Ney, B. S. Mentor: Stefan Zimmers, Ph.D. ABSTRACT After his military and economic defeat of the Welsh in 1282, King Edward I of England realized the most effective means of controlling Wales was by undermining the efficacy of its culture. This thesis argues the definitive role of the Welsh bardic tradition in the historical context of Edward’s understanding that cultural domination was as vital to the total sublimation of the Welsh as were their military and economic defeats. While many historians have examined Edward’s military and economic campaigns against the Welsh, few have concentrated on his understanding that dominating thirteenth-century Welsh cultural coherence was Edward’s most important methodology. iii ACKNOWLEDGMENTS The research and writing of this thesis would not have been possible without the exceptional support, patience, and guidance of Anne Ridder, Dr. Richard Hewlett, and most especially my thesis mentor, Dr. Stefan Zimmers. iv TABLE OF CONTENTS COPYRIGHT…………………………………………………………………………...ii ABSTRACT…………………………………………………………………………….iii ACKNOWLEDGMENTS ……………………………………………………………..iv
    [Show full text]
  • The Story of the Cambrian: a Biography of a Railway
    The Story of the Cambrian, by C. P. Gasquoine The Project Gutenberg eBook, The Story of the Cambrian, by C. P. Gasquoine This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Story of the Cambrian A Biography of a Railway Author: C. P. Gasquoine Release Date: December 10, 2006 [eBook #20074] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK THE STORY OF THE CAMBRIAN*** Transcribed from the 1922 Woodall, Minshall, Thomas & Co. Ltd. edition by David Price, email [email protected] THE STORY OF THE CAMBRIAN A Biography of a Railway by C. P. GASQUOINE (Editor of the “Border Counties Advertizer.”) 1922: Printed and Published by Woodall, Minshall, Thomas & Co. Ltd. (Incorporating Hughes & Son). Principality Press, Wrexham, and Caxton Press, Oswestry. PREFACE. Credit for the inspiration of this book belongs to my friend, Mr. W. R. Hall, of Aberystwyth, who, in one of his interesting series of “Reminiscences” of half a century of Welsh journalism, contributed to the “Cambrian News,” recently expressed his surprise that no one had hitherto attempted to write the history of the Cambrian Railways. With the termination of that Company’s separate existence, on its amalgamation with the Great Western Railway under the Government’s grouping scheme, “the hour” for such an effort seems to have struck; and Mr.
    [Show full text]
  • Our Picturesque Landscape Conservation Action Plan
    Our Picturesque Landscape Conservation Action Plan Our Picturesque Landscape Partnership Scheme November 2017 37854 BROCHURE LoggerheadsCP [LOG001] PROOF14.indd 1 31/10/2017 16:51 Contents Our Picturesque 1 Introduction ....................4 1.1 The Partnership 5 1.2 Map of the Project Area 6 Landscape 1.3 Membership of the current Partnership 7 1.4 The preparation of the Landscape Conservation Action Plan 7 Conservation 2 Landscape Character and Significance ......................8 2.1 Landscape Character Assessment 8 2.2 The Local Scale 16 Action Plan 2.3 Discussion of Landscape Significance and Pressures 36 2.4 Potential Threats and Opportunities for Our Picturesque Landscape 50 3 Vision ......................... 64 3.1 The Vision 64 3.2 Aims and Objectives 65 3.3 Meeting theO utcomes for Heritage 66 4 Governance and Delivery ...................... 68 4.1 Governance – the Partnership 68 4.2 Our Picturesque Landscape Project Structure 69 4.3 Our Picturesque Landscape Partners 70 4.4 Project Team 71 5 Projects ...................... 72 5.1 Overview and Themes 72 5.2 Project Map 73 5.3 Table of projects 74 5.4 Changes between round 1 and 2 78 6 Sustainability ............. 79 6.1 Sustainability 79 7 Monitoring and Evaluation .................. 80 7.1 Introduction 80 7.2 Purpose of the project evaluation and monitoring 80 7.3 What the Scheme hopes the evaluation will achieve 81 7.4 Sharing the evaluation 81 Horsehoe Falls / Cover Photo credit Dinas Bran, Richard Wilson copyright National Museum of Wales Museum of National Wilson copyright Richard Dinas Bran, credit Photo / Cover Falls Horsehoe 2 OUR PICTURESQUE LANDSCAPE OUR PICTURESQUE LANDSCAPE CONSERVATION ACTION PLAN 3 37854 BROCHURE LoggerheadsCP [LOG001] PROOF14.indd 2-3 31/10/2017 16:51 Our Picturesque Landscape Partnership Scheme 1 Introduction The Our Picturesque Landscape area is centred on the beautiful Dee Valley on the border of North East Wales.
    [Show full text]
  • Rightly, the Political Histories of Medieval Wales Devote Much Time to the Constant Changes of Welsh Society, Contributing To
    Bangor University DOCTOR OF PHILOSOPHY The uxorial lifecycle and female agency in Wales in the twelfth and thirteenth centuries Messer, Danna Award date: 2014 Awarding institution: Bangor University Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 THE UXORIAL LIFECYCLE AND FEMALE AGENCY IN WALES IN THE TWELFTH AND THIRTEENTH CENTURIES DANNA R. MESSER Thesis submitted in fulfilment of the requirements for the degree Doctor of Philosophy School of History, Welsh History and Archaeology Bangor University 31 July 2014 ABSTRACT The political, social and cultural histories of Wales before 1282, which focus on themes associated with the evolution of nationhood — namely conquest, co- existence and change — are incomplete because treatments of a collective Welsh identity fail to address women’s experiences. This thesis examines the sources largely associated with Wales during the Age of Princes, analysing how married women are identified and what types of agency are associated with them.
    [Show full text]
  • Re-Thinking Thirteenth-Century Powys
    9 Re-Thinking Thirteenth-Century Powys David Stephenson The first major task in any study of medieval Powys is to answer a seemingly simple question: ‘Where was it?’ A legend current in the twelfth century, but perceptible in much earlier poetry, told how Powys had once been a substantial kingdom extending through central and north-eastern Wales and into the land that was later to become Shropshire, with a chief court at Pengwern, which was identified as Shrewsbury.1 But when Powys emerges into the historical record it appears as a diminished polity, confined to lands west of Offa’s Dyke. We hear of kings of Powys or the Powysians in the early ninth century in the Welsh chronicles, while the Pillar of Eliseg near Valle Crucis abbey in the Dee valley close to Llangollen records something of their eighth-century achievements in driving back encroaching Anglo-Saxon forces.2 That first Powysian kingdom appears to have collapsed in the mid-ninth century, and its territory was occupied principally by the rulers of Gwynedd. In the tenth and eleventh centuries rule over Gwynedd implied rule over Powys. But in the early twelfth century descendants of Bleddyn ap Cynfyn recreated a Powysian realm.3 That realm was almost certainly the creation of Maredudd ap Bleddyn (d. 1132), but it was under Maredudd’s son Madog that the kingdom of the Powysians attained its greatest extent.4 His court poet, Gwalchmai ap Meilir, described Madog’s realm as extending from the summit of Pumlumon to the gates of Chester, and from the forested borders of Meirionnydd to the church of Bangor is Coed.5 Much later, probably at the close of the thirteenth century, the Powysian kingdom in the reign of Madog was described by the author of Breuddwyd Rhonabwy as having extended from Gwanan in the furthest uplands of Arwystli to Porffordd.6 Gwanan 1 Gerald of Wales identified Pengwern as Shrewsbury and located it precisely at the spot where the castle stands: Giraldi Cambrensis Opera VI: Itinerarium Kambriae et Descriptio Kambriae, ed.
    [Show full text]
  • Capel Y Boro Service Sun 7 June 2020 at 11Am Service for Trinity
    Capel y Boro Service Haydn Zecharia 1:8-17 Sun 7 June 2020 at 11am Y Greadigaeth (The Creation) – A talk on Wele'n sefyll rhwng y “Ar Ben Mae'r Gogoneddus Waith” myrtwydd by John Jones: 4 Service for Trinity and ("Achieved is the Glorious Work") Creation Sunday Côr y Boro Isaiah 11: 1-5 A celebration of the Salm 8 A talk on Wele'n sefyll rhwng y poems and hymns of Ann myrtwydd by John Jones: 5 Griffiths Eternal Father strong to save (Cecil Milner / John Bacchus Wele'n sefyll rhwng y Dykes) myrtwydd (Ann Griffiths) Samuel Taylor Coleridge, from The Rime of the Ancient Blessing Mariner, Part IV Closing music: R Williams Parry Nant y mynydd Y Llwynog (John Ceiriog Hughes) Cor Meibion Gwalia Ted Hughes Full moon and little Frieda Opening music: William Rees Dyma Gariad John Stainer The Virtual choir of SSiW (Say God so loved the World from Something in Welsh) ‘The Crucifixion’ Prayers for Trinity Sunday Arglwydd Iesu arwain f'enaid (In Memoriam, Morswyn) Ann Griffiths trans. Rowan Williams I Saw Him Standing (Yr Arglwydd Iesu) Opening music: John Stainer Rhyfedd, rhyfedd gan angylion God so loved the World (Ann Griffiths) from ‘The Crucifixion’ St Paul’s Cathedral Choir, London A talk on Wele'n sefyll rhwng y myrtwydd by John Jones: I Intrada and welcome Song of Solomon 2: 1-17 All Creatures of our God and King A talk on Wele'n sefyll rhwng y (St Francis of Assisi, William myrtwydd by John Jones: 2 God so loved the world, Draper) that he gave his only begotten Wele'n sefyll rhwng y myrtwydd Son, Genesis 1:1-19 (Ann Griffiths - modern that whoso believeth in him arrangement) should not perish, Genesis 1: 20-31, 2: 1:3 but have everlasting life.
    [Show full text]